Context? CCCXLII

Last Thursday, I tuned into a college radio station just as one DJ was asking his three fellow DJs what they learned that day.  The first woman responded, "I learned a really hard riff in one of my choir songs."  Another woman said an article she wrote was on the front page of a newspaper.  The third woman said she'd learned to script what to say on-air.

That third response surprised me.  I always thought that as long as I had my playlist in front of me and a general sense of what I planned to say, scripting wasn't necessary--especially on a casual, noncommercial college station.

If a DJ is more comfortable scripting air breaks, though, why not?  As long as the delivery is natural, who says you can't write out what you want to say ahead of time?

Persistent earworm alert CCCXLVIII

Since last night, David Olney's version of "Absalom" hasn't left my mind.  I'm not sure why.  I've only heard it once on a streaming service over 20 years ago, but its somber melody and downcast lyrics have taken root.  "Absalom" could segue with Fairport Convention's "Polly On The Shore," which isn't a joyful tale, either.

I wish I knew how the mind works in such matters.

One breezy waltz that deserves another

After listening to "Spike's Waltz" by Warren Vache recently, I was struck by how pleasant and breezy the piano part is.  It sets the stage for the rest of the instrumental, giving it a warm, carefree, uptempo vibe.  If I were programming a jazz station, I'd segue it with Wes Montgomery's version of "Hello, Young Lovers;" Montgomery's guitar playing has a similar waltzing feel on that track.

Persistent earworm alert CCCXLVII

Over 40 years ago, I saw a reference in a pop music book to "The Cinnamon Cinder (It's A Very Nice Dance)" by The Pastel Six.  I thought, "That's the most polite parenthetical song title I think I've ever seen.  I wonder what the song sounds like."

Yesterday, I finally found out, and the song has been on my mental loop since then.  KISN, an oldies station in Portland, Oregon, played it as its lost oldie of the day.  The title's courteous vibe extends to the song, as well. In the lyrics, dancers are invited to use whatever steps they want for the Cinnamon Cinder; the lyrics, "It's a very nice dance," are spoken during each chorus to underscore how welcoming the dance is.

That soft sell of an invitation charted in 1963.  Although it isn't a song I'd seek out regularly, The Pastel Six deserve credit for the appealing civility of the tune's title and lyrics.

Online radio sampler highlights CCL

Some of the best selections I've heard today:

KISN (Portland, OR)

• Guitar Boogie Shuffle-The Virtues (If you like the guitar stylings of The Ventures, you'll probably also enjoy how The Virtues let the notes reverberate in this 1959 guitar instrumental.)
• Time Won't Let Me-The Outsiders (The upbeat rhythm of this 1966 oldie holds up, and the lyrics work in any era.)

KTRU (Houston, TX)

• Houston Special-The Rooftop Singers (I reflexively like any guitar part that mimics a train, and this folk trio, best known for the hit, "Walk Right In," carries off the guitar playing and vocals compellingly.)
• Today-Jennifer O'Connor (Sensitive vocals and acoustic guitar convey honest lyrics about how weighty it is to commit to someone.)

WCLK (Atlanta, GA)

• La Costa-Vanessa Williams (Williams sings some of the most immediately appealing vocals of 2024 in this strong cover of a Natalie Cole tune.  This August release could easily paint an inviting picture of a vacation destination in tourism commercials.  The "Ah, yi, yi, yi, yi, yi, yi" hook is just as captivating in both versions.)
• The Breaks-Golden Mean (This is approximately how a guitar shredder such as Eric Johnson, Steve Vai, or Joe Satriani might sound over a smooth jazz backdrop.)

WQAQ (Hamden, CT)

• Turn That Heartbeat Over Again-Steely Dan (This unusual call-and-response among three vocalists  builds to a memorable chorus.  It's one of many examples of how Steely Dan hit the ground running on its debut album, "Can't Buy A Thrill.")

WSCS (New London, NH)

• Franz Joseph Haydn: String Quartet in D minor, Op. 76, No.2: IV. Finale: Vivace assai (Tatrai Quartet) (A spirited frenzy of a conclusion to this quartet.)
  

All about the names II

Tonight, when unearthing a tape of a prep sports radio report I'd done in 2006, I was glad that I'd written on the label, "good content; lots of names in highlights."  I know that most sports reports are "here today, gone tomorrow" bulletins that aren't intended to stand the test of time.  Still, I'm more inclined to listen to an old report of mine when I know there are lots of highlights.  A list of old scores doesn't do much for me.  Frequent highlights, however, remind me which players led their teams to victory and how certain teams pulled off come-from-behind wins.

While those games have no bearing on my life, it's nice to be reminded that just as I used to take pride in my high school bass-playing accomplishments, student athletes also had their own achievements to savor--achievements that went beyond just final scores.

By process of elimination... II

Another thought on yesterday's post:  I'll bet if the Radio Shack catalog had arrived in the mail when our other family cat with a first initial of R was around, Mom would have received a more defiant response.  The dialogue, translated from cat language to English, likely would have gone like this:

Mom: Rosie, have you been ordering stereo equipment?

Rosie (stamping a paw:) Yes, I have!  If I'm going to make my grand entrance in time to The String Cheese Incident's "Rosie," everyone should know I'm about to appear.  The music should ping off of every wall, and everyone upstairs and in the hallway should know by hearing my theme song that my appearance is imminent!

We couldn't technically prove that Rosie, our outspoken calico, thought of herself as royalty, but her demeanor suggested it.

By process of elimination...

During the '80s, my family received a Radio Shack catalog in the mail with no first name of the intended recipient.  There was just the initial R followed by our last name.  None of our first names start with R, so Mom did the logical thing and asked our cat, "Rusty, have you been ordering stereo equipment?"

I'm still not sure how to decipher Rusty's meowed response.  Jazz and swing guitar tunes got his tail tapping, though, so it's possible that he wanted to hear them in surround sound on speakers with the proper balance.

FM dial scan highlights CCLVI

Thursday through Sunday highlights:

KDHX 88.1 FM

• This Eden-Fiona Joyce (Gripping vocals.  I'd be curious to hear Mary Fahl cover this.)

WSIE 88.7 FM

• Reasons-Lindsey Webster (Pleasant vocals fit for a late night playlist.  The instrumentation gives this 2022 tune a fanciful '70s throwback vibe.)

KSHE 94.7 FM

• Don't Let Me Be Lonely Tonight-James Taylor (Taylor's short guitar intro sets the mood perfectly for the vocals that follow.  Rhythmically, this is one of Taylor's strongest ballads.  It's refreshing that there's room for a softer tune like this on KSHE's playlist.)
• Little Darling (I Need You)-The Doobie Brothers (A perfect cover; Michael McDonald handles lead vocals with his customary force.  The instrumental interlude from 1:40 until 2:08 is one of the most infectious I've heard, as it builds upon the momentum of McDonald's preceding vocals.  How was this not a hit?)

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Frederic Chopin: Prelude in A major, Op. 28, No. 7 (Arthur Rubinstein, piano) (This short piece has an appealing warmth and elegance.  I've heard multiple renditions of it, and Rubinstein strikes an ideal tempo that's neither too slow nor too fast.)
• Compared To What-Les McCann & Eddie Harris (It's no wonder that this track has held up for over five decades.  McCann plays a declarative, Ramsey Lewis-style piano part, and various lyrics from it about society's flaws still apply today.)
  

Persistent earworm alert CCCXLVI

My allergies have made me feel sluggish for over a week, so I haven't felt like doing much lately.  The Loggins & Messina tune, "Watching The River Run," has run through my mind tonight, and that has been a soothing balm.  At the moment, I don't really want to do anything more taxing than watch a river run.

The allure of shuffle mode LXIV

Late at night, it's a pleasure to hear two mellow, elegant jazz ballads back to back.  Thus, I was impressed yesterday when iTunes shuffle mode paired Stanley Turrentine's "Ligia" with Jeremy Pelt's "I Can't Escape From You."  Pelt picks up on trumpet where Turrentine leaves off on the saxophone, so I recommend this segue strongly to any jazz station.

In memory of Frankie Beverly

As a singer, songwriter, and leader of the group Maze, Frankie Beverly achieved success on the R&B charts.  He passed away on September 10, and in his memory, I cite these Maze tunes as my favorites:

• Back In Stride (This is from 1985 but could easily pass for a late '70s tune.  Its rhythm segues well with L.T.D.'s "Back In Love Again.")
• Before I Let Go (An enjoyable 1981 groove with a lyrically honest way of asking, "We have such a strong connection, so why are we splitting up?"  Why wasn't this a top 40 pop hit?)
• Golden Time Of Day (Is there a more welcoming "time-to-chill" song in this genre?  For years, I've gone back and forth when considering my favorite Maze tune.  The tune that vies and sometimes ties with this for first place in my mind is...)
• Happy Feelings (...this one.  This standout track lives up to its title.  The vibe it establishes always improves my mood whenever I hear it.)

Online radio sampler highlights CCXLIX

Wednesday's standouts:

KBBR (Coos Bay, OR)

• Do You Know The Way To San Jose?-Dionne Warwick (This was one of my favorite oldies to play on WEW.  For a song about aspiring stars who never made it big, this is one bouncy, inviting melody, especially the way Warwick sings it.)

KNBA (Anchorage, AK)

• Jealous Moon-Sarah Jarosz (This was a wise choice for the leadoff track of Jarosz's strong, consistent January release, "Polaroid Lovers."  As much as I've enjoyed all of her previous acoustic folk tracks, it's just as compelling to hear her vocals in this more assertive, electrified context.)
• Light Of The Moon-Celeigh Cardinal (In this June release, Cardinal sings thoughtful, sensitive lyrics about the hole in our lives that a person's passing creates.)

WWOZ (New Orleans, LA)

• My Feet Can't Fail Me Now-Dirty Dozen Brass Band (One repeated lyric with upbeat brass accompaniment.  This is one of the rare times I've wished I could play the tuba.)
• Didn't It Rain-Mahalia Jackson (The piano accompaniment and Jackson's vocals shine with supreme conviction.)

WXYG (Sauk Rapids, MN)

• An Owl Song-Canned Heat (A fun blend of intersecting styles; it's no small feat to fuse blues, rock, and an Irish jig into one tune.)

Stereo sound not always required

Ordinarily, when a radio air check CD I've made only plays in one speaker, I think, "Why was this in mono instead of stereo?"  When it's from the early 2000s, however, I think, "Ah, (former family cat) Sammy must have chewed through a speaker cord."

Instead of being irked that the CD isn't playing in stereo, I think, "He was a good cat.  His sister cat, Rosie, and he listened to a lot of good music and interesting radio shows with me."

Those are sensible priorities, I think.

Not written in vain, I'd like to think

Looking back, it amuses me that I wrote a letter to the management of a new oldies station, KGLD, in 1984.  I congratulated the powers that be on bringing their vision to life and asked what kind of success they expected with their new format.

Not surprisingly, I didn't receive a reply.  I knew I couldn't assume that they'd have the time or inclination to reply to every 13-year-old listener who wrote to them.

I hope they--whoever they were--considered my note a fan letter and a vote of confidence for their format choice, though.

Context? CCCXLI

When listening to a news-talk radio station this morning, the announcer said, "It'll come down to who kicks the field goal."  While he might have switched topics from politics to sports in the two minutes I was away from the radio, I suspect he used the field goal as a metaphor for this November's presidential election.  In all likelihood, the electoral college result will be close.  Based on the recent presidential debate and the common decency and sense that voters ought to have, it shouldn't be even remotely close--but it probably will be.

What can anyone who agrees with me on this do?  As I said last October...

Reconsidered merit X

Aside from "Lights" and "Wheel In The Sky," I've never been much of a Journey fan.  The main reason, I think, is overexposure of their music on the radio.  Also, most of their hits strike me as overly calculated and are sung with over-the-top emotion.

"Open Arms" is one example.  I understand why it was such a big hit.  Pledging one's love and devotion to someone is one of the most commonly well-received themes in pop music.  After hearing "Open Arms" a few times in the '80s, though, I felt like I'd heard my fill of it for a lifetime.  I contend that the sentiments that "Open Arms" expresses are sung and stated much more compellingly in Carole King's "I Feel The Earth Move," Gordon Lightfoot's "Beautiful," and "Follow You Follow Me" by Genesis.

Admittedly, the anthemic quality of "Open Arms" holds up for many listeners.  It wouldn't surprise me if people sing karaoke versions of it regularly.  It's a showy crowd pleaser for a lot of fans, and anyone who sings it on-key with the conviction that Steve Perry brings to it deserves applause.

That said, "Open Arms" still elicits just a shrug from me whenever it comes on the radio.

FM dial scan highlights CCLV

Friday standouts:

KDHX 88.1 FM

• Somebody Else-Robert Glasper Experiment featuring Emeli Sande (This type of keyboard intro always gets my attention.  Lyrically, nearly everyone should be able to relate to this; who hasn't wanted to escape the pain of rejection by becoming someone else now and then?)

WSIE 88.7 FM

• Perfect Timing-Lisa Addeo (Easy-on-the-ears, uptempo, piano-anchored smooth jazz with appealing horn punctuation.)
• Trouble Gonna Bring Me Down-The Milk (This is from 2015, but the vocals, horn arrangement, and wah-wah pedal give it an early '70s feel.)

KCLC 89.1 FM

• Floating Parade-Michael Kiwanuka (The strings lend poignancy to Kiwanuka's vocals, giving the tune an appealing early '70s R&B ambience.)
• It Runs-Kate Schroeder (Endearing vocals and acoustic guitar from this St. Louis artist.)

KWUR 90.3 FM

• Lady Blue-Wild Nothing (Vocally and instrumentally, this 2016 track sounds lifted from an '80s new wave college station's playlist.)
  

The allure of shuffle mode LXIII

When you've just played an elegant instrumental, how do you pair it with an equally elegant vocal?  iTunes shuffle mode cracked the code yesterday by pairing Sammy Nestico's "Samantha" with Ray Charles's version of "Moonlight In Vermont."

I wish I'd thought to segue those tracks when I was a WEW announcer.

Context? CCCXL

When I turned on the radio this morning, an AM talk show host said, "That's how they determined who was missing--by checking which cars remained in the parking lot."

It was sickening to know instantly that he was recalling the atrocities of September 11, 2001.

No desire to play that fast

I've been trying to recall this morning if I've ever played a piece on the bass with 64th notes.  I'm pretty sure I haven't.  Obviously, I've played quarter notes, half notes, eighth notes, and whole notes many times.  Playing a run of 64th notes, however, requires lightning quick precision and dexterity.

I remember how accomplished I felt when mastering Sammy Nestico's tune, "Pressure Cooker."  A bass player needs to shift rapidly and almost continuously to conquer that piece.  Still, as fast as that tune is, the bass part has no 64th notes.  If Nestico had composed an even faster version of it with 64th notes, he could easily have called it "Pressure Cooker (Chased By Ravenous Bears Version.)"

Persistent earworm alert CCCXLV

I've never heard The Phenomenal Handclap Band's "Afterglow" on any radio station, but it's on my mind this morning.  A commanding guitar part drew me in, and the call-and-response between two vocalists sealed the deal for me.  You might not understand every word that's sung, but the tune's energy and chorus should have elicited commercial success in 2012.

This is one alt-rock track fit for widespread play in arenas.

Piano stylings fit for a tabby

What do you do when you want to play an LP but your cat is sitting on the record player?  Here's how I handled this scenario two nights ago: I let my cat, Collette, sit on the record player for about 30 minutes.  Then, I picked her up gently and asked her, "You'd like to hear a side of Sandy Owen's piano playing, wouldn't you?  You've enjoyed it before."

Fortunately, Collette didn't hold a grudge.  As side two of the "Heart Crossings" album began, she jumped onto my lap and started kneading her paws on me.  She settled in on me for the duration of that LP side, demonstrating that Owen's music appeals to more than one species.

Supposedly, it's nearly impossible to reason with a cat.  This is generally--but not always--true.

One sign of a raised bar

I knew that Mr. J., the orchestra director who followed Mr. D. at my high school, had raised the bar when I watched video of the ensemble years after graduating.  The orchestra was playing Claude T. Smith's "Our Creed Is Our Shield," which has one of the most difficult bass parts I've ever played, at its proper fast tempo.  

The fact that those musicians could perform such a demanding piece so well in concert impressed me.  When I was in high school, our orchestra played it, too--but not in concert and at a much slower pony trot of a tempo.

As soon as I heard Mr. J. and company's rendition, I thought, "Talk about turning the orchestra into a powerhouse.  No wonder the orchestra and this new conductor are so acclaimed."

Context? CCCXXXIX

Heard on a Classical station earlier this week: "After Thursday night, that will be clear with albeit a slight chance for showers late..."

Albeit.  There's a word I wouldn't expect to hear on any non-Classical station.  The announcer also said the forecast called for "in the main, bright, abundant sunshine."

Even the weather forecasts on a Classical station have a glossy, posh veneer.

Quality vs. quantity

I have yet to hear a piece by Johannes Brahms that I dislike.  I imagine most Classical music listeners feel the same way.  St. Louis Symphony conductor laureate Leonard Slatkin pointed out something about Brahms, however, that I hadn't considered.  During an interview on K297BI 107.3 FM yesterday, Slatkin said that Brahms composed relatively few works for orchestra, but orchestras and radio stations play nearly all of them frequently.  In percentage terms, Brahms is one of the most successful composers.

However, I also have yet to hear a piece by Franz Joseph Haydn that I dislike, and Haydn was extremely prolific.  Depending on which source you consult, he composed between 104 and 108 symphonies.  While the general public doesn't know as many of his orchestral works offhand, there's a steady consistency in his composing that warrants respect.

Composers are entitled to decide how many of their works they release to the public.  There's a case to be made for just putting the cream of the crop out for public consumption, as Brahms did.  When you're able to maintain a certain high level of quality, however, there's an equally compelling case for releasing nearly everything you compose, as Haydn did.  Centuries later, it's apparent that both composers found the right balance between quantity and quality.

Online radio sampler highlights CCXLVIII

Wednesday standouts:

KCMU (Napa, CA)

• Hi-Fi Gets A Pounding, Pt. 3-Dub Syndicate (A throbbing reggae instrumental with a prominent saxophone part and a heavy undercurrent of bass.)
• Epic-Other Lives (The piano and strings on this track create a mood similar to the one that "She's Leaving Home" by The Beatles evokes.)

WESM (Princess Anne, MD)

• Franz Joseph Haydn: Symphony No. 95 in C minor: IV: Finale: Vivace (Philharmonia Orchestra/Leonard Slatkin, conductor) (Invigorating and life-affirming strings.  This movement sounds a lot like the finale of a Mozart symphony to me.)

WQSV (Staunton, VA) 

• Robber-The Weather Station (Rhythmically captivating; it's unusual to hear such jazzy backing for disquieting lyrics like these.)
• Feel-Big Star (The tense guitar opening gets the listener's attention immediately.  Upon first hearing it, I understood why two of my fellow KCOU DJs were so determined to reunite Big Star.  I'm glad they succeeded, so I could hear "Feel" live in '93.)

The allure of shuffle mode LXII

Toddling off to sleep?  Listen to Sara Watkins sing "Moon River."  Then, segue "Moon River" with "Entangled" by Genesis.  

Those songs aren't technically lullabies, but they might as well be.  Apparently, my iTunes shuffle mode algorithm thought so this morning.

Context? CCCXXXVIII

An AM talk show host plugged an artist's upcoming concert enthusiastically today.  

"If you have nothing going on (the night of the concert), stop by (the venue)," he said.  "If you do have something going on (that night), cancel it, and see (this artist.)"

I'm not that familiar with the artist whose concert is coming up, but here's hoping the host's on-air plug increases ticket sales.  When someone insists that you see an artist live regardless of your plans, that's a rave review.

A function of age XXX

The accomplished St. Louis Symphony Orchestra conductor laureate, Leonard Slatkin, turns 80 years old today.  That's difficult for me to believe.  Wasn't it just yesterday that he was conducting an orchestra in which I played the bass?  I remember him striding onto the stage, very matter-of-fact and businesslike, and saying to the orchestra, "Let's see how you're doing."  We launched right into the first movement of Alan Hovhaness's melodic second symphony, "Mysterious Mountain."  The first time he stopped us, he told our section, "Double basses, a light touch is needed on the pizzicato (to represent) pebbles falling down a mountain."

I think we all realized right away that Slatkin was a conductor who could open any score and get the results he wanted from an orchestra efficiently.  That rehearsal wasn't just yesterday, though; it happened in 1987, and it's strange to realize that Slatkin was younger than I am now.

It's disconcerting how fast time has flown.  That applies to this blog, as well.  When I started it on September 1, 2014, I thought it might last a year or two.  Ten years and 3,654 posts later, I see no reason to stop anytime soon.  There will always be new music to review and gems from the past I've missed and wish to spotlight.  As long as I'm capable of writing about music and radio stations that interest me, I plan to keep the posts coming.  Thank you to everyone who has enjoyed these first 10 years of musicandradiomusings.blogspot.com.